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Scale 1695: "Phrodyllic"

Scale 1695: Phrodyllic, Ian Ring Music Theory

Bracelet Diagram

The bracelet shows tones that are in this scale, starting from the top (12 o'clock), going clockwise in ascending semitones. The "i" icon marks imperfect tones that do not have a tone a fifth above. Dotted lines indicate axes of symmetry.

Tonnetz Diagram

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Tonnetz diagrams are popular in Neo-Riemannian theory. Notes are arranged in a lattice where perfect 5th intervals are from left to right, major third are northeast, and major 6th intervals are northwest. Other directions are inverse of their opposite. This diagram helps to visualize common triads (they're triangles) and circle-of-fifth relationships (horizontal lines).

Common Names

Zeitler
Phrodyllic

Analysis

Cardinality

Cardinality is the count of how many pitches are in the scale.

 8 (octatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11

 {0,1,2,3,4,7,9,10}

Forte Number

A code assigned by theorist Alan Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.

 8-13

Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.

 none

Reflection Axes

If a scale has an axis of reflective symmetry, then it can transform into itself by inversion. It also implies that the scale has Ridge Tones. Notably an axis of reflection can occur directly on a tone or half way between two tones.

 none

Palindromicity

A palindromic scale has the same pattern of intervals both ascending and descending.

 no

Chirality

A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

 yes
enantiomorph: 3885

Hemitonia

A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

 5 (multihemitonic)

Cohemitonia

A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

 3 (tricohemitonic)

Imperfections

An imperfection is a tone which does not have a perfect fifth above it in the scale. This value is the quantity of imperfections in this scale.

 3

Modes

Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.

 7

Prime Form

Describes if this scale is in prime form, using the Rahn/Ring formula.

 no
prime: 735

Deep Scale

A deep scale is one where the interval vector has 6 different digits.

 no

Interval Formula

Defines the scale as the sequence of intervals between one tone and the next.

 [1, 1, 1, 1, 3, 2, 1, 2]

Interval Vector

Describes the intervallic content of the scale, read from left to right as the number of occurences of each interval size from semitone, up to six semitones.

 <5, 5, 6, 4, 5, 3>

Interval Spectrum

The same as the Interval Vector, but expressed in a syntax used by Howard Hansen.

 p5m4n6s5d5t3

Distribution Spectra

Describes the specific interval sizes that exist for each generic interval size. Each generic <g> has a spectrum {n,...}. The Spectrum Width is the difference between the highest and lowest values in each spectrum.

<1> = {1,2,3}
<2> = {2,3,4,5}
<3> = {3,4,5,6}
<4> = {4,5,6,7,8}
<5> = {6,7,8,9}
<6> = {7,8,9,10}
<7> = {9,10,11}

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.

 2.5

Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.

 no

Maximal Area Set

A scale is a maximal area set if a polygon described by vertices dodecimetrically placed around a circle produces the maximal interior area for scales of the same cardinality. All maximally even sets have maximal area, but not all maximal area sets are maximally even.

 no

Interior Area

Area of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle, ie a circle with radius of 1.

2.616

Polygon Perimeter

Perimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle.

6.002

Myhill Property

A scale has Myhill Property if the Interval Spectra has exactly two specific intervals for every generic interval.

 no

Balanced

A scale is balanced if the distribution of its tones would satisfy the "centrifuge problem", ie are placed such that it would balance on its centre point.

 no

Ridge Tones

Ridge Tones are those that appear in all transpositions of a scale upon the members of that scale. Ridge Tones correspond directly with axes of reflective symmetry.

 none

Propriety

Also known as Rothenberg Propriety, named after its inventor. Propriety describes whether every specific interval is uniquely mapped to a generic interval. A scale is either "Proper", "Strictly Proper", or "Improper".

Improper

Common Triads

These are the common triads (major, minor, augmented and diminished) that you can create from members of this scale.

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Major TriadsC{0,4,7}441.82
D♯{3,7,10}342
A{9,1,4}342
Minor Triadscm{0,3,7}341.91
gm{7,10,2}242.27
am{9,0,4}341.91
Diminished Triadsc♯°{1,4,7}242.09
e°{4,7,10}242.09
g°{7,10,1}242.36
a°{9,0,3}242.18
a♯°{10,1,4}242.27
Parsimonious Voice Leading Between Common Triads of Scale 1695. Created by Ian Ring ©2019 cm cm C C cm->C D# D# cm->D# a° a° cm->a° c#° c#° C->c#° e° e° C->e° am am C->am A A c#°->A D#->e° gm gm D#->gm g° g° g°->gm a#° a#° g°->a#° a°->am am->A A->a#°

view full size

Above is a graph showing opportunities for parsimonious voice leading between triads*. Each line connects two triads that have two common tones, while the third tone changes by one generic scale step.

Diameter4
Radius4
Self-Centeredyes

Modes

Modes are the rotational transformation of this scale. Scale 1695 can be rotated to make 7 other scales. The 1st mode is itself.

2nd mode:
Scale 2895		Scale 2895: Aeoryllic, Ian Ring Music TheoryAeoryllic
3rd mode:
Scale 3495		Scale 3495: Banyllic, Ian Ring Music TheoryBanyllic
4th mode:
Scale 3795		Scale 3795: Epothyllic, Ian Ring Music TheoryEpothyllic
5th mode:
Scale 3945		Scale 3945: Lydyllic, Ian Ring Music TheoryLydyllic
6th mode:
Scale 1005		Scale 1005: Radyllic, Ian Ring Music TheoryRadyllic
7th mode:
Scale 1275		Scale 1275: Stagyllic, Ian Ring Music TheoryStagyllic
8th mode:
Scale 2685		Scale 2685: Ionoryllic, Ian Ring Music TheoryIonoryllic

Prime

The prime form of this scale is Scale 735

Scale 735Scale 735: Sylyllic, Ian Ring Music TheorySylyllic

Complement

The octatonic modal family [1695, 2895, 3495, 3795, 3945, 1005, 1275, 2685] (Forte: 8-13) is the complement of the tetratonic modal family [75, 705, 1545, 2085] (Forte: 4-13)

Inverse

The inverse of a scale is a reflection using the root as its axis. The inverse of 1695 is 3885

Scale 3885Scale 3885: Styryllic, Ian Ring Music TheoryStyryllic

Enantiomorph

Only scales that are chiral will have an enantiomorph. Scale 1695 is chiral, and its enantiomorph is scale 3885

Scale 3885Scale 3885: Styryllic, Ian Ring Music TheoryStyryllic

Transformations:

T0 1695  T0I 3885
T1 3390  T1I 3675
T2 2685  T2I 3255
T3 1275  T3I 2415
T4 2550  T4I 735
T5 1005  T5I 1470
T6 2010  T6I 2940
T7 4020  T7I 1785
T8 3945  T8I 3570
T9 3795  T9I 3045
T10 3495  T10I 1995
T11 2895  T11I 3990

Nearby Scales:

These are other scales that are similar to this one, created by adding a tone, removing a tone, or moving one note up or down a semitone.

Scale 1693Scale 1693: Dogian, Ian Ring Music TheoryDogian
Scale 1691Scale 1691: Kathian, Ian Ring Music TheoryKathian
Scale 1687Scale 1687: Phralian, Ian Ring Music TheoryPhralian
Scale 1679Scale 1679: Kydian, Ian Ring Music TheoryKydian
Scale 1711Scale 1711: Adonai Malakh, Ian Ring Music TheoryAdonai Malakh
Scale 1727Scale 1727: Sydygic, Ian Ring Music TheorySydygic
Scale 1759Scale 1759: Pylygic, Ian Ring Music TheoryPylygic
Scale 1567Scale 1567, Ian Ring Music Theory
Scale 1631Scale 1631: Rynyllic, Ian Ring Music TheoryRynyllic
Scale 1823Scale 1823: Phralyllic, Ian Ring Music TheoryPhralyllic
Scale 1951Scale 1951: Marygic, Ian Ring Music TheoryMarygic
Scale 1183Scale 1183: Sadian, Ian Ring Music TheorySadian
Scale 1439Scale 1439: Rolyllic, Ian Ring Music TheoryRolyllic
Scale 671Scale 671: Stycrian, Ian Ring Music TheoryStycrian
Scale 2719Scale 2719: Zocryllic, Ian Ring Music TheoryZocryllic
Scale 3743Scale 3743: Thadygic, Ian Ring Music TheoryThadygic

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow, graph visualization by Graphviz, and MIDI playback by MIDI.js. Some scale names used on this and other pages are ©2005 William Zeitler (http://allthescales.org) used with permission.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (An algorithm for spelling the pitches of any musical scale) Contact authors Patent owner: Dokuz Eylül University, Used with Permission. Contact TTO

Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography. Special thanks to Richard Repp for helping with technical accuracy.